As has been stated, the nature-mystic lays considerable, though by no means exclusive, stress upon what he calls "intuition." His view of this faculty or capacity is not quite that of the strict psychologist. Herbert Spencer, for instance, in his "Psychology," uses the term intuition in what he deems to be its "common acceptation"--"as meaning any cognition reached by an undecomposable mental act." Of course much would turn on what is implied by cognition, and it is impossible to embark on the wide sea of epistemology, or even on that of the intuitional controversy, with a view to determining this point. Spencer's own illustration of an intuited fact for knowledge--relations which are equal to the same relation are equal to one another-- would appear to narrow its application to those so-called self- evident or necessary truths which are unhesitatingly accepted at first sight. The nature-mystic, however, while unreservedly recognising this kind of intuition (whatever may be its origin) demands a wider meaning for the term. A nearer approach to what he wants is found in the feats of certain calculating prodigies, who often seem to reach their astounding results rather by insights than operations. The celebrated mathematician, Euler, is said to have possessed, in addition to his extraordinary memory for numbers, "a kind of _divining power_," by which he perceived almost at a glance, the most complicated relations of factors and the best modes of manipulating them. As regards the calculating prodigies, a thought suggests itself. It has been almost invariably found that as they learnt more, their special power decreased. Has this any bearing on the loss of imaginative power and aesthetic insight which often accompanies the spread of civilisation?--or on the materialisms and the "brute matter" doctrines which so often afflict scientists? But even this expansion of meaning does not satisfy the nature-mystic. Perhaps the case of musical intuition comes still nearer to what he is looking for, inasmuch as cognition, in the sense of definite knowledge, is here reduced to a minimum. On the other hand there is more at work than mere feeling. The soul of the music-lover moves about in a world which is at once realised and yet unrealised--his perceptions are vivid and yet indefinable. And it is important to note that the basis is sense-perception. And thus we say of mystical intuition that it is a passing of the mind, without reasoned process, behind the world of phenomena into a more central sphere of reality--an insight into a world beyond the reach of sense--a direct beholding of spiritual facts, guided by a logic which is implicit, though it does not emerge into consciousness. It is intuition of this fuller and deeper kind which in all likelihood forms the core of what some would call the aesthetic and the moral senses.